Yeah, Arranger is not at all hard to understand and super useful. I’m doing all sequencing and arrangment using OTs and then multitrack it to Studio One for slight editing and of course mixing.
Love that it’s possible to start/stop anywhere in a pattern when arranging, as well as the muting.
That’s correct.
Might be, but as the OP amps sounds harsher on the old OT, this might affect the filter, no?
Hmm, so making my type of music needs at least a reverb device connected so I can use sample synths with delay and reverb. As the reverb is always named as „not the best“ this is something I already considered, but I hoped to not have it with me all the time.
well I could also connect cue to c/d and use Delay and Reverb as Send Effects, I think, but would still use up a track, that leaves 6 for music. I see, that I need to be creative with all that…
the OT can set aside Track 8 as a send channel for the rest of the tracks, so you can have two FX slots apply globally at the expense of an Audio Track
so a bit of reverb for everything and that leaves flexibility on the audio tracks which wouldn’t have reverb
then use the other slot as a Filter and be sure to add some of its own drive from page 2 as that’s teh magic sauce for that filter imho
Yes, gain staging can affect the filter for sure 
Yeah, I saw that, but that is like the master sum like on a mixer, right? I am quite sure I don’t want to have psy delays and reverb on bass and drums.
I think I need to draw down, what I currently do in a daw and see how far I would come. Want to be sure that at least the music i want to make is doable before I spent the money ,)
Everything you send through cue outs does not go through the master track, only tracks that are sent to main outs do.
You can also use cue outs as aux sends for use with external effects, connect back to OT inputs (can use dir in the mixer to get the signal back without sacrificing a track or use a thru machine, but that needs a track in OT).
So with an external reverb and dir you don’t even have to sacrifice a track in OT.
Cue level then becomes your send control.
I’m not sure we share the same definition of “usable”. Like, yeah, the arranger works, but it hardly offers anything as usable as a linear timeline like @Uija is used to in Ableton. Also, there are problems with it. The mutes behave inconsistently with how they behave when switching patterns, you have to meticulously count the bars for each section of the arrangement, and someitimes if you’re mixing patterns of different lenghts, then conditional trigs don’t work how you intend. For example, if I have a 16-bar pattern with a conditional trig on the last repitition of that pattern, but it comes after a middle-8 in my arrangement, that conditional trig will hit halfway through because it’s counting from the beginning of the arrangement, not the beginning of the pattern. There’s also no way to fix that at all; no workaround.
The arranger is not usable, but it will suffice if you really need it. I decided not to use it for the most part because of issues like the above, in addition to the fact that programming it is just quite tedious and involves a lot of counting.
I think we have similar use cases for the OT. I’m not really a performer either - I’ve only ever produced in solitude for the best part of 20 years, and I also got the OT as a way to produce without a computer. Long story short, if you check my post history, you’ll see I ended up combining it with a computer for various reasons, and I’ve still not totally figured out the best way of arranging and mixing my OT music. Having said that, I love it and I’lll keep it forever. It’s awesome, and has changed how I approach making music. It really isn’t a silver bullet, that’s all - it has some of the fun and creative kinds of limitations, and it has some limitations that are actually just hard limitations.
When I had an OT the filter was one of my favourite things about it. To this day it’s the main reason why I’m so disappointed that the OT doesn’t allow voice stealing between the tracks like the A4/DT, as it would be amazing to be able to play samples/waveforms through the filters polyphonically. Obviously the OT has so much more going for it and the processing power required for this would, I assume, not be inconsiderable. But in an ideal world I’d 100% sacrifice a lot of the OT’s features for polyphony, because I love those darn filters so much!
I have a Mk1. I like the lowpass filter on it. Never used the DJ kill one.
I don’t guarantee that others will love the filters on Mk1 or Mk2 for that matter.
Filter+Delay+Comb Filter+Dark reverb and you have Techno for years!
I found the OT filter really usable with single cycle waveforms. Generally to mimic the 303 I set an LFO as Envelope to get the constant ping on the filter and then I play with the Envelope on the Filter page and have fun with p. Lock Depth and Decay time.
For live I usually map the crossfader to depth and decay so I can set the min/max ratio and play it like a 303
Sometimes it’s nice on the higher frequency. I actually like a bit of Dark reverb on drums and bass.
Arranger is more a tracker/list editor than a daw timeline, but I think it does exactly what it’s supposed to do.
What exactly do you mean?
Mutes in arranger do behave different, they do not cut off the audio, but I never had any problems with mutes in the arranger.
Could you elaborate?
And another:
Yeah I totally agree with this. I’m not trying to criticise it in terms of what Elektron’s intention was behind its design, just in terms of the perspective of someone moving from a DAW to the OT and maybe not expecting such a different experience in terms of how to actually arrange things. It is, on paper, limited relative to a DAW-style timeline arranger, especially when it comes to usability IMO. The list style arrangement method relies on the user doing a little more calculation than they would have to with a GUI-based arranger, which makes it less usable in my opinion.
The main problem I’ve had with this is that sometimes I want to cut the tails off something when I switch patterns, and the only way I’ve found of doing this is with a P-locked trig at the beginning of the pattern. There are downsides to that because sometimes I don’t want it, but it’ll be repeated at a pattern level when really this is something that only pertains to the arrangement. This is fundamentally why the OT is not particularly suitable as a composition tool rather than a performance tool - it really doesn’t work in such a way that lets you plan things out over a larger time scale - it’s very instant. Again, not a critique of the design, but something that I think will be relevant to someone moving from a DAW to the OT.
The Dark Reverb is great. It has it’s own character, but I love it. You can make Psy music on a computer. That’s how 99% of it is made. Way more possibilities.
Very valid points. Not that I think anyone should go to OT as a DAW replacement unless they love being in a world of pain haha. Re the above, I’m not sure if it will work (not tried) but would one-shot trigs solve it?
+1 dark reverb. It’s quite unique but also very versatile. Once you get used to it you can really get it sounding very nice. I’d still kill for some kind of shimmer verb though.